importance of dance in education essay

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The importance of dance in education.

By Sabine Howe, Physical Education Specialist

Learning, thought, creativity, and intelligence don’t just come from the brain alone, but from the entire body. Movement combinations increase memory, order, and sequencing skills. Creating dances also increases self-esteem which is so very important to learning. We already witness the need for children to move throughout the day. Having experienced first hand the positive effects that music and dance have on students’ development, I feel it is important for dance to be included in all elementary (and secondary) curricula.

There are so many reasons why dance is important to the health and development of our young people. Above all, children need to move! Any way to get kids moving on their feet is a must (especially in a digital era). Dance burns calories, strengthens muscles, improves balance, increases flexibility, and gives the heart a good workout. Dance has also been proven to increase cognitive development. Current research documents the importance of exercise on the brain and supports what dancers have always known – the body and mind are connected in vital ways.

Utilizing dance in academics also helps children develop skills that are necessary for learning such as creativity, communication, critical thinking, and collaboration. Through the creative process, students are encouraged to use their imagination, collaborate with their peers to solve problems, and discover multiple solutions to challenges.

It is because of these reasons that I have chosen to incorporate music and dance into every PE program here at MCS. The elders are so happy to hear fun music and move their bodies! I have found that they learn steps and rhythms extremely quickly. By the time the children get to Lower Elementary, Upper Elementary, and then to the Adolescent Community, although their taste in music might change, they are still incredibly happy to move their feet. Also, their repertoire of dance numbers is quite amazing! Some children chose to create their own dances, and this is always a joy to watch. My hope is that all of our children and young adults never lose their desire to play music and just dance!

Why dance is just as important as math in school

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Dance — and physical activity — should have the same status in schools as math, science and language. Psst: it may even help raise test scores, says Sir Ken Robinson.

For several years, I’ve been a patron of the London School of Contemporary Dance. In 2016, I was invited to give the annual lecture in honor of founding principal Robert Cohan, and I decided to talk about the role of dance in schools.

Before the lecture, I tweeted the title “Why Dance Is as Important as Math in Education.” I had a lot of positive responses and a number of incredulous ones. One tweet said, “Isn’t that going to be one of the shortest lectures ever?” Another said flatly, “Ken, dance is not as important as math.” One person tweeted, “So what? Telephones are more important than bananas. Ants are not as important as toilet ducks. Paper clips are more important than elbows.” (At least that was a creative response.) Some responses were more pertinent: “Is that so? Important for what and to whom? By the way I’m a math teacher.”

I’m not arguing against mathematics — it’s an indispensable part of the great creative adventure of the human mind. It’s also intimately involved with the dynamics of dance. Instead, this is an argument for equity in educating the whole child. I’m talking about the equal importance of dance with the other arts, languages, mathematics, sciences and the humanities in the general education of every child.

Dance can help restore joy and stability in troubled lives and ease the tensions in schools that are disrupted by violence and bullying.

What is dance? It is the physical expression through movement and rhythm of relationships, feelings and ideas. Nobody invented dance. It is deep in the heart of every culture throughout history; dance is part of the pulse of humanity. It embraces multiple genres, styles and traditions and is constantly evolving. Its roles range from recreational to sacred and cover every form of social purpose.

Some people have long understood that dance is an essential part of life and education. In Dance Education around the World: Perspectives on Dance, Young People and Change , researchers Charlotte Svendler Nielsen and Stephanie Burridge bring together recent studies of the value of dance in all kinds of settings: from Finland to South Africa, from Ghana to Taiwan, from New Zealand to America. The low status of dance in schools is derived in part from the high status of conventional academic work, which associates intelligence mainly with verbal and mathematical reasoning. The studies collected by Nielsen and Burridge explore how a deeper understanding of dance challenges standard conceptions of intelligence and achievement and show the transformative power of movement for people of all ages and backgrounds. Dance can help restore joy and stability in troubled lives and ease the tensions in schools disrupted by violence and bullying.

A number of professional dance companies offer programs for schools. One of them is Dancing Classrooms , a nonprofit based in New York City, which brings ballroom dancing into elementary and middle schools in some of the most challenging districts in the country. Using dance, the organization aims to improve social relationships especially among genders and to enrich the culture of the schools by cultivating collaboration, respect and compassion. Founded in 1994 by the dancer Pierre Dulaine, the program now offers each school twenty sessions over ten weeks, culminating in a showcase.

Toni Walker, former principal of Lehigh Elementary School in Florida, shares this story from working with Dancing Classrooms. “When this young lady first came to Lehigh, the file on her was probably two inches thick,” Walker recalls. “She felt she needed to prove herself and make sure everyone knew she was strong and would fight.” The girl didn’t want to join the ballroom dancing program … but participation wasn’t optional. Soon, she found she had a natural ability. “In the next lesson, she had a little bit of a different attitude and we didn’t have to fight with her to dance,” Walker remembers. “She just got in line.”

By the third and fourth lessons, Walker says, the student was transformed : “She carries herself differently; she speaks differently; she is kind; she is respectful; she has not had one [disciplinary notice], not one. Her mother can’t believe what she sees. It’s amazing. Amazing. The program is far greater than people understand.”

In one evaluation, 95 percent of teachers said that, as a result of dancing together, students’ abilities to cooperate and collaborate improved.

Dance education has important benefits for students’ social relationships, particularly among genders and age groups. Many forms of dance, including ballroom, are inherently social. They involve moving together in synchrony and empathy, with direct physical contact. In an evaluation of Dancing Classrooms in New York City, 95 percent of teachers said that as a result of dancing together, there was a demonstrable improvement in students’ abilities to cooperate and collaborate. In a survey in Los Angeles, 66 percent of school principals said that after being in the program, their students showed an increased acceptance of others, and 81 percent of students said they treated others with more respect. Dance has economic benefits, too. As well as being a field of employment, dance promotes many of the personal qualities that employers recognize as essential in a collaborative, adaptable workforce.

One principal was especially impressed by the improvements in reading and math scores among her fifth-grade students. “There are no ifs, ands, or buts about the program’s impact in the academic lives of our children,” says Lois Habtes of the Emanuel Benjamin Oliver Elementary School in the Virgin Islands. “When I first got here, they were failing scores. Last year — our second year in the program — they got up to 83 percent. This year, our fifth grade scored 85 percent on the reading test, the highest in the school.”

Dance and theater are mostly seen as second-class citizens in schools.

It’s not just dance, of course. The success of Dancing Classrooms is an example of the well-documented relationship between physical activity and educational achievement. The trend in most US school districts is to cut phys ed and similar programs in favor of increasing time for math, science and English. These measures have simply not improved achievement as so many policy makers assumed they would.

A panel of researchers in kinesiology and pediatrics conducted a massive review of more than 850 studies about the effects of physical activity on school-age children. Most of the studies measured the effects of 30 to 45 minutes of moderate to vigorous physical activity three to five days a week on many factors — physical factors such as obesity, cardiovascular fitness, blood pressure and bone density, as well as depression, anxiety, self-concept and academic performance. Based on strong evidence in a number of these categories, the panel firmly recommended that students should participate in one hour (or more) of moderate to vigorous physical activity a day. Looking specifically at academic performance, the panel found strong evidence to support the conclusion that “physical activity has a positive influence on memory, concentration and classroom behavior.”

Most children in public schools in the US receive some education in music and visual arts, patchy though it often is. But dance and theater are mostly seen as second-class citizens, and opportunities in the arts, in general, are lowest for students in areas of high poverty. “There are still millions of students who do not have access to any arts instruction. Many of them are in our poorer communities where the programs are arguably needed the most,” says Bob Morrison, the founder and director of Quadrant Research.

Would it be okay to have millions of students without access to math or language arts? he asks. “Of course not, and it should not be tolerated in the arts. There is a persistent myth that arts education is for the gifted and talented, but we know that the arts benefit everyone regardless of their vocational pathways,” he says. “We don’t teach math solely to create mathematicians, and we don’t teach writing solely to create the next generation of novelists. The same holds true for the arts. We teach them to create well-rounded citizens who can apply the skills, knowledge and experience from being involved in the arts to their careers and lives.”

Excerpted from the new book You, Your Child and School: Navigate Your Way to the Best Education by Sir Ken Robinson and Lou Aronica. Published by Viking, an imprint and division of Penguin Random House LLC, New York. Copyright © 2018 by Ken Robinson.

About the authors

Sir Ken Robinson is a global leader in educational reform and a New York Times bestselling author. Professor Emeritus at the University of Warwick in the UK, he advises governments, corporations, education systems, and some of the world's leading cultural organizations.

Lou Aronica is the author of four novels and coauthor of several works of nonfiction, including the national bestseller "The Culture Code" (with Clotaire Rapaille), "The Element" and "Finding Your Element."

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“Ring around the Rosie, a pocket full of posies, ashes, ashes, we all fall down!”

I grew up singing that refrain in the 1970s in New York City’s East Harlem neighborhood, holding hands with other children while skipping around in a circle before we’d all wind up laughing and cross-legged on the ground.

I didn’t know then, and was not to learn for many years, that the Mother Goose rhyme and its accompanying dance, sprang from London’s Great Plague of 1665 . The tragic origin of that joyful childhood routine suggests that dancing in the face of tragedy can signify the affirmation of life and resilience in the face of struggle, death and despair.

Still dancing

Many years later, I was still dancing, both socially and as a student at a performing arts high school . My classmates and I would dance in the street, in Central Park – wherever and whenever we could. These were scenes straight out of the movies, Broadway show and TV series “ Fame ,” which our school inspired.

Later, I studied law and philosophy. Eventually, through interdisciplinary work in dance studies as well as philosophy, I discovered that dance is good for people as individuals, as well as for society as a whole.

Dance is good because it expresses human nature – it’s not just fun, although it is certainly fun. It’s not just exercise, either.

At its best, dance is an extension and expression of who we are as human beings in ways that can allow us to share emotions that increase our sense of community and connection. This is why, in good times and bad, in times of war, slavery, fleeing homelands and during pandemics, kids still bounce, leap and spin.

They are feeling. And they want to share these feelings with others. This doesn’t stop when schools go online. This doesn’t stop when parks and playtimes are limited by fears of contagion. Kids still want to connect with each other in physical and rough-and-tumble ways. And one of the ways they want to do this is through dancing.

An outlet for natural impulses

The idea that something is good when it is part of helping human beings to flourish comes from Aristotle , the ancient Greek philosopher.

Dance helps children to flourish because it is an outlet for their natural impulses that has emotional and social benefits. As the philosopher of dance and religion Kimerer LaMothe has explained, a desire to dance and to move your body is the beginning point of all human life.

Soon after babies come into the world, they begin to move . This is readily apparent when observing toddlers and young children, who have a natural energy and joy and a love of exploring space and the world around them.

What this means is that when parents allow or encourage their kids to dance they are just stoking something that is already natural to them and that they often already like.

Plato , who was Aristotle’s teacher and is widely considered the father of Western philosophy, advocated that dance training be used for the civic education of children, for both health and citizenship reasons. But dance training need not be formal to benefit kids.

I’m glad to see so many kids finding ways to dance together during this COVID-19 pandemic. As a college professor I can see blank and pale faces in required Zoom classes as my students slump in their childhood bedrooms or in empty dorms.

They are either alone, as is the case for the foreign students who remained in the U.S., or back with their families – and may be experiencing an array of stress brought about by social isolation, economic distress and illness.

Many may just want or need to dance it out.

My daughter, for example, belongs to one of Dartmouth College’s dance teams, Ujima . She and her teammates have kept up both rehearsals and flash performances through social media platforms like Instagram and YouTube . Rehearsing, she tells me “is one of the few things keeping me sane and connected to my friends right now.”

Another thing I think is keeping them and their peers sane is TikTok . The short video app that features many dance challenges has gained more popularity during the COVID-19 pandemic as kids of all ages have struggled with isolation away from their school friends.

The most popular TikTok dancers, such as Connecticut teen Charli D’Amelio whose dances have been downloaded more than 2 billion times, are those who seem real and friendly – and are performing simple dances that anyone can learn.

Dance for kids today, I believe, is about friendship, caring and connection.

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Dils, A. (2007). Social History and Dance as Education. In: Bresler, L. (eds) International Handbook of Research in Arts Education. Springer International Handbook of Research in Arts Education, vol 16. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-3052-9_7

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Table of content

What is dance?

Why dance is relevant, dance as school programs, dance to create aptitudes, dance to alleviate worry, dance to communicate, dance for the future.

It is the physical articulation of associations, feelings, and contemplations, by development and cadence. There was nobody concocting music. Dancing is a piece of mankind's pulse and sits in the center of the general public. It covers a few classifications, styles, and conventions and consistently advances. Its capacities extend from delight to blessedness and spread all types of social reason. For the best results, hire reliable ‘buy custom essay’   services.

A few people comprehend that dance is a significant piece of life and training for quite a while. Researchers Charlotte Svendler Nielsen and Stephanie Burridge set up together in the Dance Education: Update on Dancing, Young People and Development researchers from Finland and South Africa, Australia, Taiwan, and New Zealand to the USA, and the new discoveries on the significance of dance in a wide range of conditions. The low status of dancing in schools is halfway founded on the elevated requirement of customary scholastic work, which mostly joins knowledge with verbal and scientific reasoning. The analyses by Nielsen and Burridge investigate how a more prominent impression of the dance tests customary meaning of keenness and achievement and show that individuals all things considered and societies can be changed over. Dance can enable re-to to build up happiness and solidness in grieved lives and mitigate strains in schools influenced.

Dancing is more than discovering types of shaping or rehearsing a lot of steps towards music. It is a method that uses the movement of the body.   Dance   is also regarded as a method for collaboration and language. Students learn coordination, correspondence, and act of spontaneity aptitudes by music. Dance gives kids new bits of knowledge, helping them figure out how to investigate and act in new manners.

Children will impart and share their considerations and be given a chance, even at a young age, to settle on inventive choices. It helps to build basic leadership advances, confidence and youngsters' independence. Seeing how others Dance will, in general, grow the language of the youngsters' development to construct one's own development gets the kid into position learning and offers it a chance to hear its tone. The opportunity to settle on choices inside a framework enables students to go past what they can do and utilize their innovativeness to investigate their very own limits.

Dance likewise makes it feasible for students to get themselves and the world they live in. Educators can frequently show kids through human expressions to think about the job of all societies in the texture of our general public and reinforce the valuation for every one of individuals' disparities and qualities. Dance is appropriate to this assignment by learning conventional dances and making new ones dependent on the thoughts of kids. Dance regularly improves the ability to see, see and reflect, and this will absolutely help students in every one of the angles in their group.

Most global dance organizations offer school programs. One is the "dancing Classrooms," a non-benefit situated in New York City that takes dance to essential and auxiliary schools in a portion of the nation's most troublesome locale. The association utilizes dance to improve social ties, specifically among sexual orientations, and by advancing collaboration, regard, and empathy in school culture. Dance isn't just a method for exercise and excitement, however an approach to impart. We're ready to dance as babies, sometime before we can talk. Indeed, it might just be an insecure squirm, yet all things considered, nature is there! Put on a bit of music, and clearly, children can dance. For what reason don't we energize this more when a youngster can think about the examples of advancement as effectively as a language can?

Kids can build up an assortment of significant advancements through dance; tactile and spatial mindfulness, coordination, center and portability. Teachers use it in connection to communicating feelings, building trust or even simply feeling good! Schools should concentrate intensely on instructive subjects; note useful exercises! We love it on the off chance that we can acquaint hit the dance floor with other center subjects, to deal with each part of instruction.

Dance can be both rationally and scholastically incorporates the improvement, introduction, and investigation of innovative procedures. It incorporates a wide scope of abilities, for example, translating words, applying basic reasoning, nonverbal idea and discourse, making and trading thoughts, cooperating, and understanding diverse networks and societies. In the entirety of our exercises and with youngsters addresses, for example,

• Can you clarify how you dance?
• Do we energize this investigation and basic thinking?
• Why did you like the dance of your colleagues?
• What are you going to do to improve it?

In any region of regular daily existence, the straightforward dance abilities can likewise influence changes and advancement, so whether dance is basic for your wellbeing in the dance call. We accept it is significant for kids to keep up their dance exercises, if not to raise their number, in times of expanded pressure (for example, school tests). It offers kids the chance to work and appreciate a merited break.

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Work in expressions of the human experience uncovers those self-spurred, composed, and focused students who practice dance. When communicating wants, contemplations, and sentiments they are progressively verbal. You will assess the activity and others ' work dispassionately and are increasingly innovative and inventive.

The elective Dance presents were never progressively vital at a period when kids go through hours increasingly more before a screen or TV. Ideally, the dance will one day be viewed as a piece of a wide, adjusted training, all youngsters being presented to the abundance of workmanship instruction. The advancement of imaginative aspiration readies a significant culture for what's to come. Injecting kids to do this currently prepares for who and what is to come. It is the job of a School to show what the workmanship can offer regarding advancement, challenge, and absolute learning.

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Dance Education and Culture Synthesis Essay

Executive summary.

In contemporary sociological usage, the term culture refers to the sum total of all knowledge, customs, beliefs, attitudes and values shared by a large group of individuals with other common linkages. Theories formulated by David Carr suggest that culture can also be described from an evaluative point of view as the things that are worthwhile to the humans (Carr 2003, p7).

Carr goes ahead to suggest that it is a challenging fact for individuals to distinguish which of the various learning experiences they analyze in the various cultures is important for personal growth and development. Carr’s proposal has a definite application in dance education particularly because all the elements of the practice can be isolated using either the sociological or the evaluative criteria.

This essay seeks to illustrate that the teaching experience particularly when it comes to dance is an amalgamation of the cultural elements manifesting through curricula and syllabi specifications. To this end various forms of literature shall be investigated to provide the background information necessary for the creation of a solid argument.

Personal experience as a dance instructor shall also be drawn into the discussion and this shall be interwoven with theoretical frameworks proposed by different scholars in the field to offer even more credibility to the essay.

Introduction

Over the years dance studies have gained prominence all over the world. The knowledge and field requirements are under rapid evolution and both the practitioners and instructors in the field have to go through a specified amount of refresher training.

Social and cultural shifts particularly in the student markets have necessitated the removal of the traditional boundaries between various academic disciplines. Teaching dance is becoming more and more complex and in institutions of higher learning dance is crossing across all academic spheres with the introduction of such programs as dance medicine and dance philosophy.

Dance education Syllabi

There are three main syllabi that are well acceptable in the dance instruction field. These are named according to the institutions/personalities that established them and they are: Dance Vision International Dance Association ( DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray.

For each and every of the three well recognizable dance curricula, there are three primary levels for ranking student talent and abilities. These are bronze, silver and gold. However, each and every syllabus has its own primary focus that aims at strengthening a student’s skills and abilities as well as acting as the foundation for which more work can be based on.

The foundational stages of all the three curricula are aimed at identifying students’ abilities and talents as well providing proper the theoretical information to guide the trainees in subsequent stages. Through discipline and commitment, students in senior levels of training work on already acquired techniques and they build on them, in the process perfecting their skills.

In order to illustrate how both the evaluative and sociological definitions of culture can apply to the dance profession, a comparison of the practical elements of credible dance syllabi in educational facilities has to be provided. This will mainly focus on the presentation of the dance as it is the final product of the entire training process.

For the purpose of this discussion, the analysis shall be based on bronze level performance of nine competitive dance routines. These three dance instruction syllabi are defined by the unique approaches they each take in the performance of various dance routines. These differences are summarily detailed below.

It is worth noting that this discussion has been restricted to the major competitive styles which are widely accepted as the common point of reference for all the dance teaching syllabi. The important elements under discussion for all the dance styles analyzed include, the progression, the uniqueness in steps and the relevance of the knowledge gained to the student.

Smooth dance

Waltz – The Arthur Murray has well distinguishable number of steps and aside from giving the dancer the option of variety it also goes ahead to use layering in developing a definite motion pattern across the dance floor. The USISTD also entertains the distinguishable steps as Arthur Murray but doesn’t leave room for variety.

This therefore makes it only ideal for professional dancing at the expense of social dancing. DVIDA has provisions for variety but does not have elaborate movement styles until much later in the syllabus. It has however been fronted as the best curriculum to follow for the Waltz.

Tango –DVIDA has a clear and fun scope of teaching the tango but tends to involve the trainees in skillful moves too early in the curriculum. This is particularly because it tends to demand a change in alignment regularly and also requires high levels of accuracy in orientation which in a way makes it very challenging to navigate.

Arthur Murray has various variations in the first half of the curriculum and the remaining half comprises random movements. UISTD on its part lays emphasis on the primary usable movements and lets the trainees develop into the routine naturally.

Viennese Waltz – It is very difficult to analyze this category as there are numerous approaches to the American Viennese. This makes it difficult to establish the genuine presentation format of the dance at the bronze level. Trainees who follow the DVIDA syllabus tend to approach this dance routine at a slow pace and then develop the drive as the training progresses.

The primary Viennese movements are introduced almost midway through the curriculum and then the American patterns are introduced much later into the syllabus. Arthur Murray on the other hand tends to kick off with complex styles both in terms of speed and drive and then gradually move into slower aspects.

The UISTD introduces the students to the core elements of Viennese and then integrate them with unique American aspects. As the syllabus progresses, the more complex American patterns are introduced and fused with the previous techniques that the trainees have picked up over the time.

Cha Cha – The UISTD starts with an almost conservative number of steps. DVIDA is almost similar to UISTD but it tends to be open enough to allow for slight innovation. Arthur Murray is entirely conservative and it does not give the performer enough credibility by the time that he/she is done with the training.

Rumba – Arthur Murray’s Rumba tends to be dull from the outset and then incorporates a number of complex steps as the syllabus progresses. UISTD has unique technique descriptions and these develop in a compounding manner throughout the training period. DVIDA starts definite patterns but has limited fifth position endings.

East Coast Swing – For this routine, DVIDA tends to omit a number of important steps such as the outside turns, points and kicks. It is therefore very difficult for a dancer who is well versed with this technique to gel well with a dancer from a different syllabus.

It however has great technique description. UISTD starts on a triple which makes some steps such as the whips challenging. It also has great technique descriptions. Arthur Murray has solid steps and a great technique which makes it appropriate for both social and competitive dancing.

Bolero – The USISTD bolero tends to be more like a rumba dance version. As a matter of fact, individuals can use steps from the latter in learning the bolero. Arthur Murray’s syllabus stipulates that individuals have to be at bronze level before they can start the dance. DVIDA has a number of definite steps with well written technique descriptions making it a fun to pursue syllabus.

Mambo – The DVIDA mambo comprises a wide array of steps but has some unpopular endings. Arthur Murray encourages proper timing and a great technique. It however lacks variety and this tends to make the syllabus lose its appeal. UISTD is slow from the outset but gradually morphs into a fun-filled second half.

Foxtrot – DVIDA’s foxtrot tends to coerce the dancers into SSQQ timing and some of the steps in this technique at the bronze level appear awkward. Arthur Murray encourages alternate timings and encompasses great variations to make the dance even more interesting. UISTD generally tends to start with proper and progressive steps but the entire piece at the bronze level appears like a re-jig of the waltz.

Movement and the historical/cultural aspects of dance

The way a dance defines the movement explains the primary aspects of the style and the historical context of the dance. The techniques and skill of a dance routine are attributes which are conferred from one generation to another in a form of broad cultural transference.

However, individuals studying and performing dance from time to time tend to reinterpret traditional dance styles and present them is ways that make sense and are comfortable to them. The three dance syllabi analyzed above present students with the chance to gain comprehensive knowledge of dance.

Students from each curriculum learn the different dances based on how the dances were presented by the founders of the syllabi. The students therefore base their techniques and skills on the historical and cultural significance of the adopted style.

In this way, they can easily evaluate their work by comparing it with the established framework of the syllabus that they learn in. Irrespective of the chosen curriculum, there are five key gains that students of dance are expected to have made at the completion of the training period; these are:

• They must have gained sufficient knowledge of the elements of dance.
• The must clearly choreograph a dance in such a way that it reflects the elements of the syllabus they followed.
• They must be in a position to apply the skills gained in non-competitive (formal) presentations
• The must be able to evaluate both professional and non-professional dance practice.
• They must know how to elaborately communicate ideas through choreography.

These five elements are based on the broad appreciation of dance as an art form that is primarily grounded on culture and tradition. In this regard, tutors and instructors should ensure that the items included in their syllabi are well planned and comprehensively cover each and every component of their primary targets.

Curricula should be developed and implemented using various instructional routines which put students in better positions to go through varied experience. Bearing in mind that most students have different learning rates, tutors should ensure that all their students achieve the desired levels of performance based on the chosen syllabus.

Based on a broad perspective of dance and dance education, the roots of dance can be traced back to the origins of human kind. Dance has been used as a way of expressing cultural values by giving individuals the opportunity to reconnect with the past and link it to the present and create visions of the future. In a way, every coming generation recreates culture through dance.

By the students understanding the historical and cultural heritage of a number of dance routines exposes the students to understanding the functions of dance in different social settings. Proper curricula enable students utilize their critical thinking abilities to envisioning, describe, provide an analysis and evaluation of a given dance piece in a credible manner.

Students are able to assess various techniques and styles based on the presentations they receive in class. This kind of understanding makes them better understand most of the elements in each and every sequence.

Formal education and dance culture

Dance had been traditionally viewed from a narrow-angle perspective as a performance art with no real significance in the real world and therefore most individuals opted not to go through formal training (McCutchen 2006).

However, through years of study and enhancement of professionalism in the field, it has been found out that the people who go for training acquire skills which are important in achievement in other areas of life not related to dance. These students tend to develop proper self-understanding and appreciation of human relationships and also tend to auger well with their external environments.

Aside from this, they are able to enhance their critical thinking abilities as they are able to question the reasons for certain actions during the dance practice as well as properly defining meaning from choreographed pieces based on their respective curricula (Carr 2003).

Formal education has changed over the years to accommodate fields that were previously regarded as unimportant to societal development. These include the likes of dance and other performing arts and over the years there has been a cultural shift towards incorporating these fields into educational curricula with an aim of recognizing them as worthy professions.

As much as individuals can easily attain their goals through setting up personal structures for reading and networking, practical fields such as dance tend to require the presence of tutor/instructor who will serve as the assessor for growth.

These tutors are now under constant pressure to have gone through a formal educational system, and particularly have obtained college certification which will put them in a better position to evaluate the talents and needs of students.

A tutor who has grown through a credible educational system will no doubt be in a position to determine the kind of information that is important to the personal development of his/her students and filter out from knowledge that has become obsolete and irrelevant (McCutchen 2006).

However, it is definitely clear that exposure of students/trainees to a wide array of subjects will further broaden their competitive advantage in the real world.

The students who have a varied knowledge system will be better placed to communicate with persons who engage in other elements of the professional dance field and they will also be in a position to understand how their roles as professional dancers interrelate with other professions in such a way that the jobs influence each other.

There are two elements of education that tutors should have in mind when designing dance training programs. One is that formal education gives students an opportunity to expand their way of thinking. This means that individuals are expected to graduate out of particular training institution with knowledge that they can use to circumvent any challenge that may arise in their line of duty (McCutchen 2006).

Secondly, the education is supposed to provide them with an entry ticket to professional recognition. This recognition, however, can only be sustained by the quality of their work and as long as the tutors focus on instilling the necessary ethic to their students it can easily be entrenched in their (the students’) career routines.

One of the ways that can be used to ensure that this is attained is through ensuring that the students have extensive theoretical and practical knowledge of their area of specialization. This coupled with personal post-training experience will determine how successful an individual’s career life will be. It should be noted that there is a difference between getting a formal academic accreditation and getting an education.

The real point of training is to offer the student the opportunity to learn how to think and feel deeply about a particular profession in such a way that they can not only make a living out of it, but also make a life through the knowledge gained.

The importance of curricula in defining growth

All of the recognizable dance curricula particularly at trainer/college level introduce individuals to the process of research in order to isolate knowledge that they can relevantly use in coaching their students. College education also trains students on how to practically deliver everything they have picked from theoretical sessions and how to face challenges and seemingly mundane activities with honor.

Most of the value picked from college dance education is a representation of how much a student was able to apply him/herself to the course and endurance of the difficulties encountered (Barker 2008). As dance educationists, we are under constant pressure to decide whether to extensively expose our students to theoretical knowledge or to concentrate on the practical application of the basic knowledge garnered.

However, it is vastly acceptable that an individual with credible certification in any professional field must be in a position to practically display his/her ability as well as explain the theory behind the actions he/she partakes in (McCutchen 2006).

It therefore becomes the responsibilities of the tutor to identify those individuals with reading disabilities and finding ways of ensuring that they pick up the critical theoretical elements of the dance practice, even if it means having to give them audio notes and oral tests.

The various dance curricula have their own delivery and presentation styles and it therefore becomes challenging for tutors to establish a general format that will appear appropriate across the board.

Even with this bottleneck, individuals-particularly educationists- should have it mind that the most important element of the knowledge that the students are getting is that it puts them in a better position to reevaluate themselves irrespective of the cultural elements of the society in which they were raised in.

The commercial benefits of a career should not be viewed as the primary driving force of an individual who prides in having gone through proper education and formal professional training (Barker 2008).

Instead, students should be made well aware that if they fully apply themselves to their jobs and deliver everything with professionalism, they will be able to supersede societal/cultural pressures and lead fulfilling career lives (McCutchen 2006).

As a matter of fact, college/tertiary education enables students learn how to enjoy their lives outside their jobs as well as giving them the opportunity to pursue perspectives based on their personal intrinsic values.

Students who are made to clearly understand the importance of entertaining ideas and perspectives eventually end up happy in both their professional and personal lives.

While it arguable that individuals can still learn this outside an academic institutions, it has been proven that individuals who choose to pursue this route tend to spend a lot of time on certain irrelevant things before it dawns on them that they need to move on to the next agenda.

It is therefore appropriate, particularly in practical fields such as dance, that individuals enjoy some level of liberal education alongside the formal elements that can only be provided by academia (Carr 2003). Research has it that most practical skills are better picked outside of academia which tends to concentrate on giving theoretical and general education.

However, most people will not have the drive and motivation it takes to learn a trade using this route. It is therefore the responsibility of the instructors to establish curricula and syllabi which will give their students both the ideal general knowledge to survive in the competitive ‘outside’ world as well as horn their skills in attaining professional competence in their respective trade.

Role of the instructor/trainer in defining dance culture

The design and creation of a dance curriculum is a reflective process that requires the tutors and instructors to actively engage in a number of questions that will focus on the strengths of the delivery process.

Teachers should clearly know that the main goal of the training process is to enable their students develop proper creative and expressive techniques as well as adequate dance knowledge to see their careers develop from strength to strength (Carr 2003).

From personal teaching experience, I have been able to understand the delivery and presentation of dance concepts are two independent but related elements of the practice. Like other traditional academic delivery syllabi, dance syllabi also focus on delivering certain concepts and elements in isolation.

However, being one of the few professions whose products are clearly noticeable, the entire learning process for dance is aimed at ensuring that all the knowledge obtained in the different classes is integrated in performance. It is of paramount importance that students understand how to create performances based on the basic elements of dance that they pick up in class.

The instructor/tutor is charged with the responsibility of ensuring that the students fully understand all aspects of the instruction, because the weakness of one component dramatically reduces the quality of the entire performance. The students should be able to have a clear perception of dance as well as place the different elements in their cultural and historical position based on relevance.

In this way, the students will be able to understand and view dance as a form of art through the development of an awareness of spontaneous movement and they categorically understand the underlying principles and elements of dance.

Through creative expression, students who have been well tutored in the dance art form are able to combine their knowledge on body sciences and fitness with dance elements to come up with presentations that are both impressive and professional. All of the syllabi analyzed earlier follow similar frameworks where students first learn the basic and simple movements of a given dance before progressing to more complex aspects.

Role of the student/trainee in defining dance culture

While trying to establish the relevance and importance of certain elements to students, it is worth noting that the primary factor that will dictate the reception of information is the students’ personal approach to the knowledge they are receiving. Some individuals just take to formal education in order to get the bare minimum that will get them noticed by field agencies (Carr 2003).

This mindset significantly reduces the gains they make from the training and it therefore becomes even more challenging for the instructor to try and get them to pick up knowledge that could adequately contribute to their personal development.

With the limited number of employment facilities for dancers, educationists should make it their responsibility to ensue that their students define their career goals not only by the broad/sociological aspects of culture but using the evaluative elements. The latter will prepare them to creatively use the information garnered in school in establishing themselves as marketable individuals.

This also means that even if they don’t get hired to work for other people, they could easily set out on their own and still earn a decent livelihood out of it. In this sense, an average student who has the drive and determination can easily end up starting his/her own agency and hire all the brilliant and fast students they were in training together.

Societal participation in defining formal dance culture

Most individuals particularly those in culturally ‘respectable’ professions tend to regard dance as a trade that does not necessarily require an individual to have gone through formal education to make it (Carr 2003). This misconception has in recent times come to be dismissed as it has been established that individuals can easily gain the varied life experience required understand the needs of the profession through proper education.

Even the basic general knowledge that students detest while in school will come in handy at some point in their lives irrespective of the chosen career path. It is also manifest that just a few individuals have the ability to learn on their own but even these persons need to have the basic groundwork which can only be founded on formal training.

With the constant demand for degrees and other notable certification by employers and recruitment agencies, colleges and other training facilities have been pushed to accommodate individuals who would otherwise never have qualified for such education (Barker 2008). This heavily impacts on delivery as the limited facilities are overstretched demanding the instructors and tutors to concentrate on offering theoretical lectures.

Unfortunately, some programs such as dance require enough practical lessons as this is what the world will use in analyzing the skills of the professionals who graduate from such fields. It is therefore the prerogative of the trainers, instructors and tutors to establish the relevance of the content they are presenting to their students as far as personal and professional growth is concerned.

Good educationists will ensure that the knowledge they give their students sets the tone and confers on them skills to cope with the challenges of the profession (Carr 2003).

It is unfortunate that individuals graduate from training facilities without the basic idea on how to practically apply the information garnered while their counterparts who chose to follow the longer way of learning through practice can cope with any of the challenges thrown their way.

While it is admirable for tutors to focus on helping their students develop useful skills it is clear that with the rapid changes in society, such skills may lose relevance in a very short time. It is therefore important that curricula and syllabi be focused on turning students into well rounded individuals who can easily adapt to professional, societal and cultural metamorphoses.

In an effort to illustrate both the broad and narrow definitions of culture as applies in the dance profession, this essay has raised a number of critical issues as summarized below.

First, there are three primary dance curricula which are well recognized in competitive dancing. These are the Dance Vision International Dance Association ( DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray.

All the three draw elements for their syllabi from how a given societal group used to present them. This goes in tandem with the sociological view that culture is a set of practices shared amongst a group of individuals with common characteristics and who end up defining how things shall be done within the group.

As has been illustrated using an analysis of nine bronze level competitive dance styles some elements have been left out or added by each of the three curricula based on convenience and appropriateness to the performer. This supports the evaluative view of culture in the sense that the teachers of particular syllabi have to establish which aspects are important to their students’ growth and which ones serve no definitive purpose.

Coming to training accorded to dancers, it has in recent times come to the appreciation of individuals with diverse backgrounds that dance can be taken as a meaningful career.

With this introduction of professional appreciation, diploma and degree programs have been set up to specifically offer proper training in dance. It is this kind of appreciation that has led individuals to seek academic certification and in the process learn which elements are necessary for their personal growth.

While developing curricula for their students, teachers and other instructors are charged with the responsibility of ensuring that they determine which aspects of the training will be of relevance to each and every student in the class. As a result, they more or less dictate how the culture of their classes would be shaped as opposed to relying on hand down set ups.

The training of dance professionals can be evaluated based on two elements. These are the delivery of the knowledge from tutor to students, and the presentation of the learned skills by the students. The latter is however entirely dependent on the former and it is with this knowledge in mind that instructors ensure that the syllabi and course outlines support elements that will put their students at a better place to learn.

However, even with the tutors and instructors playing a critical role in how the information they present to the students will be received, the students themselves have to be willing to absorb the knowledge they are given. As a result, they also contribute greatly to how the skills they acquire become of relevance to them. In other words, the students are also responsible for how culture is defined within their places of learning.

Society also has a critical role to play as far as the definition of culture and professional dance practice are concerned. This is primarily because most individuals tend to depend heavily on societal influences in establishing their career paths with most of them going against the desires of their hearts to join professions that they are not interested in.

It is this desire to belong to a given cultural grouping that has for a long time caused performing arts such as dance to be seen as less important as compared to other careers. However it has been recently realize that the more society opens to change, the more people are comfortable going for professions that enhance their personal growth.

It is worth noting that culture is a constantly metamorphosing element of society. It undergoes changes from time to time and when it comes to professions such as dancing, the tutors and trainees end up dictating which aspects of the cultural practice are useful to them and which are not.

This project has served to illustrate many key-note points in regards to the importance of culture in dance training. The information obtained in the research has served to broaden personal knowledge on the profession particularly from an instructor’s point of view. This is the kind of knowledge that can be practically put to use whenever drafting syllabi and developing curricula.

This paper has provided extensive data on the various aspects and elements of the dance profession and has illustrated how they ling to both the sociological and evaluative definitions of culture. Various elements of syllabi creation have been critically highlighted using data obtained from books and publications credited to various professionals in the field.

This information has to some extent been broken down to such levels that individual who are non-professionals can easily pick out relevant bits of data from the essay and be in a position to relate them to their respective environments.

The presentation has taken the form of a research process report by critically evaluating the topic of discussion with relevant explanations being given to evaluate concepts. The final product is a well laid out paper that if well reviewed can be used to provide background information to guide other professionals in their own projects on related topics.

Reference List

Barker, C. 2008. Cultural Studies: Theory and Practice. London: Sage.

Carr, D., 2003. Making sense of education: an introduction to the philosophy and theory of education and teaching. London: Routledge.

McCutchen, P.B., 2006. Teaching dance as art in education. Illinois: Human kinetics

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How to Write Importance of Dance Essay – 2 Sample Essays

September 11, 2023 by Yusuf Ali

Writing an essay on the importance of dance can be a fun and interesting task. It allows you to explore the art form in greater detail while also providing insight into its cultural, physical and emotional benefits.

By exploring its history , analyzing how it has evolved over time , and discussing its various applications today, your essay will show readers why dance continues to be held in such high regard throughout many cultures worldwide.

With two sample essays provided below as examples, you’ll have all the guidance you need to craft an effective essay on the importance of dance.

Table of Contents

How to Write Importance of Dance Essay – A Step-By-Step Guide

You can write a compelling essay on the importance of dance by following these steps:

1. Research

To start, you should research different aspects of dance, including its history and the various styles of dance (from breakdancing to hip-hop). Additionally, look into how dance has evolved over time, as well as its cultural significance in different parts of the world.

Once you have finished your research, analyze each aspect to explain how it contributes to the overall importance of dance. Consider both the physical, emotional and social benefits that dance provides and how they help shape our understanding of it today.

3. Organize

Once you have a better understanding of each aspect, organize your thoughts into a logical structure that flows from one point to the next. Ensure each point is connected to the overall theme of your essay, and make sure there is a clear introduction and conclusion.

Now you can begin drafting your essay on the importance of dance. Start with an introduction that captures the reader’s attention and provides them with some background information on the topic. Then, dive into each point from your research in greater detail and use evidence to support your claims. Finally, provide a conclusion that ties everything together.

5. Proofread

Once you have finished writing your essay, take the time to proofread it for any grammar and spelling errors. Additionally, make sure each point is clearly defined and there are no gaps in logic or inconsistencies in tone.

SAMPLE ESSAYS ON THE IMPORTANCE OF DANCE

Sample essay 1 – the importance of dance.

Dance is more than just a physical activity ; it is also an art form. It has been around since the days of ancient civilizations and offers countless benefits, both physically and emotionally. From providing exercise to creating beautiful pieces of choreography, dance can have a lasting impact on people of all ages.

Dance is an effective form of exercise that can improve physical health and increase overall stamina. It also helps build strong muscles, improves coordination, and increases flexibility . Additionally, it can be a great way to relieve stress and get rid of excess energy in a fun and creative way. Furthermore, because dance requires concentration and focus, it can help improve mental acuity, memory, and the ability to problem-solve.

Besides its physical benefits, dance is also a great way to foster creativity and express emotions. By using body movements to create unique pieces of choreography, dancers are able to tell stories with their dances and explore different aspects of their personalities. Additionally, dancing with a partner can help build trust and strengthen relationships.

Danca is beneficial for spiritual and mental well-being, providing an outlet for stress relief and a way to connect with oneself. It can also be a wonderful form of self-expression, allowing dancers to express themselves in ways that words cannot. Lastly, by performing in competitions or performances, dancers are able to build confidence and make friends with other like-minded individuals in the process.

In conclusion, dance is an important art form that offers considerable physical and emotional benefits. Through its intense and intricate movements, it allows us to express ourselves in ways words cannot. Furthermore, it helps improve our physical health while also providing us with opportunities to let go of stress and connect with our inner selves. For all these reasons, dance is and will continue to be an important part of many cultures around the world for generations to come.

Sample Essay 2 – Importance of Dance

Dance has been around since the earliest days of humankind as a form of expression, communication , and healing. Throughout time, it has been used to celebrate, mourn, and even heal physical ailments. As cultures have evolved over time, so too has the way we dance.

In ancient civilizations, for example, most dances were religious in nature and involved complex rituals meant to appease the gods or fulfil a spiritual quest. These dances often consisted of intricate steps that mirrored the movements of animals and nature. As society changed, so did the purposes of dance; it became more free-flowing and improvisational. This was particularly true during the Baroque period in Europe when people embraced a culture of performance and leisure activities that included ballet and other social dances.

In modern times, dance has evolved even further as people have embraced different genres, such as jazz and hip-hop. Despite this diversity , dance still continues to be used for communicating emotions and creating art in various ways. It is a great way to get exercise or practice artistic expression, but it can also be a powerful tool for connecting with other individuals on an emotional level.

Dance is important due to various reasons, from its physical and mental benefits to its ability to bring people together. In many cases, it has been used as a form of healing and therapy to help people get through difficult times. Furthermore, it is a vital part of many cultures—it helps provide a sense of unity and community while also allowing us to express ourselves creatively.

In conclusion, dance is an important part of human history, and it has gone through many changes over the centuries in order to adapt to different societies. From its ancient beginnings as a religious ritual to its modern-day iteration that encompasses all types of music genres, dancing remains a powerful way for people to connect with each other and express themselves creatively. Therefore, it is important to continue to explore and appreciate all aspects of dance so that we can gain a deeper understanding of our own unique cultures.

Wrapping Up

Writing an essay on the importance of dance can be a great way to explore its many benefits and gain insight into different cultures.

To create an effective essay, it is important to consider all aspects of dance, from its physical and mental benefits to its ability to bring people together.

Additionally, make sure to explore the history of dance and how it has changed over time in order to better understand its role in our lives today. By following these tips, you can create a compelling essay on the importance of dance and its many contributions to society.

Yusuf is interested in exploring the world around him and making meaningful connections with it. He then express these ideas with words for the world to enjoy. In his free time, Yusuf loves to spend time with books, nature & his family.

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THE IMPACT OF DANCE ON STUDENT LEARNING: WITHIN THE CLASSROOM AND ACROSS THE CURRICULUM

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National Dance Education Organization

Thomas K Hagood , Loren Bucek , Susan Koff , Rima Faber , Karen Kohn Bradley , Sara Lee Gibb

The Research in Dance Education (RDE) project grew out of a long-term national need in dance education: A need to know what researchers in dance and allied fields have studied over 80 years, what they learned, and if, and how, existing research impacted teaching and learning in and through dance. As dance educators, we knew that research had been done in dance and that it began to accumulate following the development of the world’s first dance major program at the University of Wisconsin-Madison in 1926. Over the decades this research was deposited in libraries scattered all over the country, finding a home in the literature and research of our and other disciplines – faculty published their work when and where they could. What our field lacked was a comprehensive knowledge of what was written; by whom, where it was located, and what promise this hidden resource might have for teaching and learning in and through dance. In 2001, the National Dance Education Organization received funding for a three year project from the United States Department of Education that allowed the discipline of dance, for the first time, to identify and analyze existing literature and research in dance/movement education from 1926 to the present. The Research in Dance Education project set out to answer the following questions: • What research exists in dance education? When was it done? Where is it? • What patterns, trends, and gaps may be identified by analysis of these data? • What are the implications for understanding the scope of this information for dance, arts education, and U.S. education? • What recommendations for the future of dance arts education may grow out of this project? "Research Priorities for Dance Education: A Report to the Nation" (2004) provides a summary of the information gleaned over 76 years of literature and research in dance education. The Research in Dance Education database (currently titled DELRdi), is available online at www.ndeo.org/research. It contains vast amounts of information for more than 9,000 documents, 2,339 of which comprise the study.

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Essay on Dance

500 words essay on dance.

Dancer refers to a series of set of movement to music which we can either do alone or with a partner. Dancing helps us express our feelings and get active as well. If we look back at history, dance has been a part of our human history since the earliest records. Thus, an essay on dance will take us through it in detail.

My Hobby My Passion

Dance is my favourite hobby and I enjoy dancing a lot. I started dancing when I was five years old and when I got older; my parents enrolled me in dance classes to pursue this passion.

I cannot go a day without dance, that’s how much I love dancing. I tried many dance forms but discovered that I am most comfortable in Indian classical dance. Thus, I am learning Kathak from my dance teacher.

I aspire to become a renowned Kathak dancer so that I can represent this classical dance internationally. Dancing makes me feel happy and relaxed, thus I love to dance. I always participate in dance competitions at my school and have even won a few.

Dance became my passion from an early age. Listening to the beats of a dance number, I started to tap my feet and my parents recognized my talent for dance. Even when I am sad, I put on music to dance to vent out my feelings.

Thus, dance has been very therapeutic for me as well. In other words, it is not only an escape from the world but also a therapy for me.

Get the huge list of more than 500 Essay Topics and Ideas

Hidden Language of the Soul

Dance is also called the hidden language of the soul as we use it to express ourselves when words fall short. The joy which comes with dancing helps us get over our sorrow and adversity sometimes.

Moreover, it is simply a translator for our hearts. What is most important to remember is that dance is not supposed to be perfect. There is no right way of dancing, as long as your heart is happy, you can dance.

When we talk about dance, usually a professional dancer comes to our mind. But, this is where we go wrong. Dance is for anybody and everybody from a ballet dancer to the uncle dancing at a wedding .

It is what unites us and helps us come together to celebrate joy and express our feelings. Therefore, we must all dance without worrying if we are doing it right or not. It is essential to understand that when you let go of yourself in dance, you truly enjoy it only then.

Conclusion of the Essay on Dance

All in all, dance is something which anyone can do. There is no right way or wrong way to dance, there is just a dance. The only hard part is taking the first step, after that, everything becomes easier. So, we must always dance our heart out and let our body move to the rhythm of music freely.

FAQ of Essay on Dance

Question 1: Why is Dance important?

Answer 1: Dance teaches us the significance of movement and fitness in a variety of ways through a selection of disciplines. It helps us learn to coordinate muscles to move through proper positions. Moreover, it is a great activity to pursue at almost any age.

Question 2: What is dancing for you?

Answer 2: Dancing can enhance our muscle tone, strength, endurance and fitness. In addition, it is also a great way to meet new friends. Most importantly, it brings happiness to us and helps us relax and take a break from the monotony of life.

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Home — Essay Samples — Life — Dance — The Health Benefits Of Dancing

Mental and Social Benefits of Dancing

• Categories: Dance Recreation and Sports

About this sample

Words: 997 |

Published: Mar 18, 2021

Words: 997 | Pages: 3 | 5 min read

Table of contents

Introduction, what are the benefits of dancing, works cited.

• Coyle, J. T. (2004). Use it or lose it - Do effortful mental activities protect against dementia? The New England Journal of Medicine, 352(25), 2571-2572.
• Einstein, G., & McDaniel, M. (2004). Integrated memory for details and context: The multidimensional match-mismatch model. Psychological Bulletin, 130(3), 426-447.
• Jensen, E. (1998). Teaching with the brain in mind. ASCD.
• Kangas, M., Rahkonen, O., & Heinonen, R. (2005). Cognitive performance in physically active and inactive middle-aged men. Scandinavian Journal of Medicine & Science in Sports, 15(2), 91-100.
• Leste-Lasserre, C. (2021). How dance benefits your brain. Psychology Today. Retrieved from https://www.psychologytoday.com/us/blog/the-athletes-way/202101/how-dance-benefits-your-brain
• National Endowment for the Arts. (2015). The arts in early childhood: Social and emotional benefits of arts participation. Retrieved from https://www.arts.gov/sites/default/files/Arts-in-Early-Childhood-Report.pdf
• Ratey, J. J. (2008). Spark: The revolutionary new science of exercise and the brain. Little, Brown Spark.
• Sibley, B. A., & Etnier, J. L. (2003). The relationship between physical activity and cognition in children: A meta-analysis. Pediatric Exercise Science, 15(3), 243-256.
• Tervo, R. C., Azuma, T., Fogarty, J., & Nelson, C. A. (2020). A guide for using the event-related optical signal (EROS) to study cognitive processes. Journal of Visualized Experiments, (155), e60688.
• Yoon, S., & Coulton, C. (2015). Social benefits of physical activity in parks: A research synthesis. Leisure Sciences, 37(2), 145-162.

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